Archive for August, 2012

After a rather intellectual but far removed discourse for Spring 2012, Maier is exactly on point for fall. I had an immediate visceral reaction to Tomas Maier’s designs for Fall 2012. There was an instantaneous sense of want for the vision Maier sent down the runway. It is a little hard to deconstruct why I felt that way upon viewing this collection. Even now, after months of being away from it, I pull up the images to review the collection and am immediately struck by that same sense of passion for it. There is something innately confident about the Bottega Veneta woman this season–a possession of a powerful sense of self that is highly alluring. Maier injects glamour and charisma into his darkly romantic designs, finding a way to combine chic practicality with dramatic flair. While these two characteristics sound rather contradictory, each look is elegantly executed and superbly crafted. More importantly, with each look sent down the runway, Maier further envelops his audience into his narrative. Overall, this entire collection was absolutely riveting, evoking more emotion than I had ever expected. And, that is precisely the beauty of Bottega Veneta Fall 2012.

Sarah Mower has a more coherent review of it at Vogue.com. It would probably only get worse if I delved into individual pieces or references.

Generally, Milan is usually the city I skim over the most in Fashion Month as its display of flamboyant extravagance and blaring “sexiness” does not normally suit my own tastes. However, I have been rather pleasantly surprised with the darker and more sophisticated direction it has taken for the Fall 2012 season. In particular, Peter Dundas reveals a rather intriguing collection as it is a decided depart from Dundas’ typical skin-baring suggestiveness. Without losing the sensuality embedded in the core of Emilio Pucci’s aesthetic, Dundas delves into menswear with a decidedly feminine edge.

To begin with, Dundas builds his collection on a luxe foundation of fur, patent leather, alligator skin, and silk print. While silk print has always been a part of the Emilio Pucci house, the other fabrics are well-introduced. Coats and dresses alike are wonderfully spliced to reveal a silk gauze paneling whereas the alligator skin pattern are transferred onto chiffon dresses in velvet devore style. Moreover, tuxedo jackets and structured trousers take the focus for Fall 2012 and are made a bit more provocative when paired with sheer silk paneling. Dundas’ exploration of black becomes a whole lot more interesting with his sense of form and cutting. Without a doubt, I have greatly enjoyed Emilion Pucci growing up from its hallmark of flirty print dresses to a house grounded with structured tailoring and tastefully sculpted evening gowns.

Raf Simons’ last collection for Jil Sander is at once poignant, thoughtful, and so so very pretty. With his exquisite craftsmanship and masterful execution, Raf Simons stuns his audience with the quiet strength of his collection. There is a deceptive simplicity about his designs that melds charming femininity with subtle modernism. Blush pink, soft lavender, and creamy beige are gracefully rendered into luxurious coats and delicate slip dresses for a rather elegant take on a customarily trite color palette. Whereas rich navy and a rather splendid poppy red truly pop amidst this understated color scheme. I love how effortless it all feels. Gorgeous coats with their precise lines (and lack of buttons) easily shrug open to reveal gracefully intricate slip dresses. The geometric blend of knit, gauze, and jersey provides a modernity to the classic silhouette. Further, with this arresting display of architecture, Simons reveals an unerring eye and deft touch that prevents the origami lines within the piece from becoming overwrought.

Midcentury Haute Couture, heralded by the likes of Christian Dior (rather apt considering Simons’ latest landing), is readily apparent with this display of impressive restraint and impeccable craftsmanship. I love the sort of old world gravitas that he brings to the table and how it is balanced by an airy lightness shown throughout the collection. And in the end, Simons’ minimalist vision makes for a rather reflective and emotional farewell to Jil Sander to a well deserved standing ovation.

While Gucci is largely known for its nineties image of overt sexiness (courtesy of Tom Ford and Carine Roitfeld), I rather enjoyed the more romantic turn that Frida Giannini has taken for Fall 2012. Giannini certainly maintains Gucci’s sensual aesthetic but relaxes the silhouette into an easy opulence that flows down the body. The generous use of velvet adds to this dandified air of refined luxury: it appears in flowery embroidery winding its way up tulle, is embossed upon smoking jackets, and rivets in tapestry-like printed jacquards. I love the allusion to Gucci’s equestrian heritage with sturdy riding boots and jodhpur trousers; they add a bit of masculine edge to nymphlike romanticism on display. I am also a big fan of the military-inspired jackets. There is a poeticism to this collection with its finely crafted details and easy sensuality. Gucci delivers decadence and femininity without flaunting its more obvious message. And it loses absolutely nothing by not slapping one in the face with its “sexiness.”